painter – illustrator
 
9, rue Salin - 51100 Reims France
Tél./Fax. : 03 26 77 53 69
e-mail : info@studiofrancoisgeffray.com

Hello and welcome to my Web site. Here you are invited to discover my Artistic Universe through my paintings, Acrylic paint on canvas and paper, my digital creations on canvas and my drawings. If you wish to contact me with a view to exhibiting my work or for a personal commission (advertising creation, painting, illustration, fresco, wall decoration) Please do not hesitate to contact me and I will reply with the greatest of pleasure. Thank you for your visit. François GEFFRAY Bienvenue sur mon site, Graphiste depuis 1986 et peintre plasticien reconnu au niveau international, exposant depuis peu (Paris, Venise, New-York, Pékin, Londres, Montréal, Florence...) je vous invite à découvrir mon univers artistique : peintures acryliques sur toile et papier, créations numériques imprimables sur toile et dessins/pastels. Si vous souhaitez : - faire appel à mes compétences de graphiste confirmé ( depuis 1986) combinées à une recherche constante dans le domaine de la peinture contemporaine, pour votre communication, - exposer, vendre ou acquérir mes toiles, - me confier un travail particulier : peinture, illustration, fresque, décoration murale... - dialoguer avec moi par e-mail, n’hésitez pas à me contacter, je serais heureux de vous répondre Merci de votre visite François GEFFRAY Analysis of the work of François Geffray by Francis Parent, art historian and critic The explanatory texts associated with the four analytic criteria (A - formalism, B – materiality, C - involvement, D - communication) position the artist's work within the history of art and indicate any artistic currents they may belong to and famous artists who have taken a similar approach in their self-expression. A: FORMALISM When looking at the work, what type of formalisation first strikes the eye? Is it more abstract or more figurative, etc.? (On a scale from the most "immaterial" to the most "realist".) Figurative Expressionist Expression of the turbulent or even violent inner world of an artist who, unlike the Abstract Expressionists, uses the many possibilities offered by depiction of the human figure (from historical Expressionism to COBRA, from Violent Painting to the Neo-Fauves, etc.) in a way that mingles the use of colour, matter and gestural action. The expression lies somewhere between Action Painting and Matter Painting (Emil Nolde, Asger Jorn, John Christoforou, O. Pelayo, Gérard Garouste, Georg Baselitz, Francesco Clemente, etc.). B: MATERIALITY How does the materiality of what is shown come across? Is it pure concept, a play of matter or media, a "readymade" object, etc.? (On a scale from the most "immaterial" to the most "realist".) Mixed materiality: structured / unstructured When a work is "structured" in its "lack of structure", and vice versa (repetition of forms, signs, media etc.: Viallat, Toroni, Degottex, Hantaï, etc.). Structured materiality, structured combinations Any combinations of lines, colours, matter or volumes of a fairly structured type (Michail Heizer, Anish Kapoor, Miguel Barceló etc.). C: INVOLVEMENT OF BODY / MIND What is the body:mind ratio in the artist's involvement in their work? (On a scale from the most "intellectual" (e.g. Conceptual Art) to the most "physical" (e.g. Body Art).) Towards the intellectual side, the essence of things, an inner reflection turned more towards the phantasmagorical. Fantasies of all types as long as there is formal control (from Georgia O'Keeffe to Annette Messager, etc.). Tending towards the corporeal / the senses, the work is a result of gestural action The work as a result of bodily movement, chiefly hand movements (from Jackson Pollock's Drip Painting to the Lyrical Abstraction of Georges Mathieu; from L. Fontana's perforations to V. Vélickovic's flayed figures.) D: COMMUNICATION Does the artist have the deliberate intention to convey a message of any sort through his work? (On a scale from the most "mystical" to the most "worldly".) Via the signified in narratives or symbolism, whether allegorical, metaphorical (J. Beuys' materials), analytical (the Fibonacci-series work of Mario Merz and Robert Filliou, etc.), critical (from Henri Cueco to Hans Haacke or Guillaume Bijl, etc.).